Bow Tied in the Middle, 1996

CommentaryThe sculptor conquered the European art scene with her expansive installations in the 1990s. Her unique symbiosis of painting and sculpture show a specific, multicolored gaiety and seemingly improvised playfulness. Brought together are supposedly familiar objects of everyday use and unconventional materials, with Stockholder expertly employing the range of sculptural and pictorial potential. Her work merges art and life, living room and gallery space. The artist tends to occupy exhibition spaces completely, transforming them into temporary studios and magical spatial images.

For the installation ›Bow tied in the Middle‹, first realized in Thomas Solomon’s garage, Los Angeles in 1996, exact installation instructions have been set. Starting point for the scene place in the corner of a room is the mustard yellow wall. Opposite it, a violet carpet is hung on which a yellow square is painted. A basket-like cart with for cushions, a plastic pot with fresh oranges and pears moves from the front side into the ensemble, while to fans blow in fresh air from the side.

Nothing in this arrangement is by chance, something also true for the orange colored extension cord. The objects are tied by form and color analogies, the colors and forms by their material nature. Stockholder’s ›synthetic aesthetic‹ creates a rich sensuousness and abundance.

The sculptor conquered the European art scene with her expansive installations in the 1990s. Her unique symbiosis of painting and sculpture show a specific, multicolored gaiety and seemingly improvised playfulness. Brought together are supposedly familiar objects of everyday use and unconventional materials, with Stockholder expertly employing the range of sculptural and pictorial potential. Her work merges art and life, living room and gallery space. The artist tends to occupy exhibition spaces completely, transforming them into temporary studios and magical spatial images.

For the installation ›Bow tied in the Middle‹, first realized in Thomas Solomon’s garage, Los Angeles in 1996, exact installation instructions have been set. Starting point for the scene place in the corner of a room is the mustard yellow wall. Opposite it, a violet carpet is hung on which a yellow square is painted. A basket-like cart with for cushions, a plastic pot with fresh oranges and pears moves from the front side into the ensemble, while to fans blow in fresh air from the side.

Nothing in this arrangement is by chance, something also true for the orange colored extension cord. The objects are tied by form and color analogies, the colors and forms by their material nature. Stockholder’s ›synthetic aesthetic‹ creates a rich sensuousness and abundance.